Like a three-dimensional collagist, Chamberlain assembled, bent and compacted colored sheets of steel and other metals from automobiles or, as seems to be the case here, from a manufactured domestic object. Tiny Piece #1 represents or narrates nothing; it is inherently poetic—the artist’s personal choice in selecting the parts he felt “fit” together, determining the aesthetically carefully balanced, outcome: “Some seem to think that I work with found pieces, but I don’t. They’re chosen, you see […] there has been a lot of magic implied in the choice.”